The Rohan Master (fl. in Champagne, Paris, Anjou, c. 1410-1440) is named after the Grandes Heures de Rohan (Paris, Bibliothèque nationale de France, lat. 9471) in which the arms of the Rohan family appear numerous times. The origins of this artist are unknown. He seems to have worked in Champagne, moving to Paris around 1415/20, returning at some point to Champagne, and ending his career in Anjou. A knowledge of the celebrated Très Riches Heures of the Limbourg brothers (Chantilly, Musée Condé, ms. 65) is apparent in his work. His expressive and dramatic style, with clamorous colours, distorted perspectives, and impulsive gestures used for emotional effect, is totally alien to the elegant works of his contemporaries. The enlarged image field, reaching to the top of the page, is a hallmark. While the pursuers are seen in the foreground, the Holy Family appears in a large scale at the top of the composition behind the rocks. The blue sky is animated by his usual little nervous gold clouds. It has been suggested that all the early works attributed to the Rohan Master are not part of his œuvre, including those made in Paris; the Giac Hours (Toronto, Royal Ontario Museum, Lee of Fareham coll.), from around 1410, has been proposed as the starting point for the identification of a separate character.